“This notion of home as a universal and yet absolutely personal concept, a habitat of objects and dynamics, a focus of individuation and sentiment, and an aesthetic and ethical constraint, is returned to obsessively in the sculptural work of Roger Perkins. He brings this key subject out of the background in order to make a powerful, sometimes aggressive but always controlled series of statements, some acting as oblique social commentary, but most offering personal confession, regarding the affective and artistic consequences for one man of placing his heart in the home".

Sean Hand, in the extract above, states that I return 'obsessively' to the subject matter of my occupation. Could it not be any other way? What is more fundamental and essential to our existence than the acquisition and maintenance of a 'home'?

But this 'home' is not the bricks and mortar of a building- though this is, without doubt, an easily recognisable representation or icon of home. It is what is within the building that makes up what we really wish for in home –
the memories and histories of those you know or knew and the similar memories and histories of those you did not know that 'fix' you to a place.

But objects within our homes are so important in securing our 'place'. They associate ourselves to events, people, memories. They re-enforce a security in their being there- wherever 'there' is.

They link us to others. It is such a fundamental, primitive need, and one that we constantly try to re-enforce, yet at a moments' notice all of this can dissipate for any number of reasons.

What we belief and hope to be secure is, in fact, illusory.
But we are very good illusionists.